Where is Hadi Moghadamdoost’s account of the diminution of “faith” in cinema/rituals? – Mehr news agency Iran and world’s news
According to the reporter of Mehr, Hadi Moghadamdoost, the writer and director of the cinema last night on the 10th of Shahrivar month, at the special discussion table Sivikmin The episode of “Cinema Criticism” program talked about the difficulties of dealing with the topic of faith in cinema: Rituals themselves can also be characters; Character means to know rituals. In cinema, we generally know the place of rituals at the end of the film, but if we bring it at the beginning or the body of the story, we have actually connected with rituals as a character. Relationship means characterization and characterology believers With rituals that must be accompanied while reaching the desired goal. People who have understood the faith have a continuous relationship with the ritual and accompany it.
He said: The principle of this issue is to know and study the process of a person in the concern of faith theology And the relationship with God becomes related. In fact, we should be able to obtain it in terms of studies, but how to narrate it is a difficult task. Of course, it is more possible in text and poetry than to depict it.
This movie director continued: The nature of faith itself and the concern of filmmakers are both in the reduction of faith in cinema effective are. Even if the cinematographer is concerned, the difficulty of the path may deter him because there is generally a fear that undermines the meaning of faith.
Moghadamdoost also stressed about the representation of rituals in the cinema: it should be noted where the rituals are placed in the story? The main elements of the story or the character of the story. Rituals have appeared in the form of a performance situation that is the goal of a character, for example, a character who wants to go on a pilgrimage or fast or participate in holidays. So far, rituals have been used as the goal of the character or the performance situation, but they have not been included in the character itself. In fact, rituals are not included in the body of the story and do not become the center of the drama.
The director of “Sar Beh Mehr” said about not addressing the issue of Arbaeen procession in the cinema: You should go and experience it. If the filmmaker wants to create a ritualistic narrative, he must be able to discover the facts by entering into it. In fact, he should have lived experience and not be satisfied with what he has seen and heard. This allows the filmmaker or writer to take a realistic stance.
Moghadamdoost said about the avoidance of works of art from the display of prayer and fasting: various concerns, including the feeling of helplessness, have caused this avoidance, but the main reason is the lack of recognition of the characteristics of rituals. When there is a creative approach to rituals, it creates good ideas. I believe that not showing rituals is removing a fact and not doing enough to recognize its character.